You can customize them with drawing and selection tools, including a Magic Wand selector.
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This set of tools actually offers more than its name suggests: You can use it to create a panorama from a video clip, a group photo from a video with everyone making an acceptable expression, or a multiple-exposure image like those you can make from stills. You start from the Video-to-Photo button right above the Import button. Of course, the feature does let you make still photos from video, but in my testing, it couldn't sharpen a moving subject. And the same problem made multiple-exposure shots from video a lot less appealing than those created from stills.
Likewise, the Panorama feature worked in testing, but was less automatic than I'd like. It works best if you manually select frames from a video you play through, and in my first attempt I hadn't overlapped the frames enough to get a full panorama. There's an Auto option, but that also took a few tries to get a full pano result.
The tool lets you auto-fill areas of the photo that result from combining perspectives—a nice content-aware feature. Speaking of content-aware features, CyberLink has added content-aware cloning to the program's content-aware remove and move tools. The remove tool works well, as you can see from the photo above, where I've removed some unsightly tape on the court floor. I had less success with the new content-aware clone feature, which produced unwanted transparency in the object I was cloning. But note the fun trick of resizing the cloned objects.
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This is an effect that's been around for a while, at least since Spielberg's Schindler's List. It's where you only let one color in a photo appear, and leave the rest in black and white. PhotoDirector's tool not only lets you select a specific color to show, but you can have it appear only on a selected object, rather than every instance of that color, with a brush that selectively removes the color. A Tolerance slider is also helpful in isolating a color.
Below is an example where only the blues appear. This tool has three subsets: face tools, skin tools, and body tools. Note that anything you do here can be undone, since a working copy is created. On my test image, the Face Shaper basically tucked in jowls. These tools let you draw on top of your images and superimpose text, as well as add shapes, fills, and gradients. You can select areas with a lasso and a smart lasso, but PhotoDirector's selection tools are not as smart as Adobe's.
This program offers a lot of the layer-blending modes found in Photoshop, including Darken, Multiply, Difference, and Exclusion—14 in all.
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You can drag layer entries to change their order. You can even go in and adjust any layer separately with the standard lighting, color, and detail tools. The Blur Tools section in Editing mode makes it easy to add not only blur but also bokeh , zoom focus, and tilt-shift effects. It's as fun, powerful, and interesting as the motion-blur tool in Photoshop Elements. The Noise Reduction tool does a good job of cleaning up a noisy shot, and makes doing so a snap.
Often this kind of feature make you tinker with sliders to deal with chrominance and luminance noise, and PhotoDirector does offer these sliders, but its magic wand de-noising button did a fine job of reducing noise from my test images' dark areas. At full zoom, my results did look a tad blurred, but when viewing the whole photo, the smoothing was a big improvement.
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It's accessible in Edit mode, and you can drag up to five photos shot at different exposures of the same subject from the tray to the main editing area. A merge button combines all the images, which took about 15 seconds on my five-shot test. The merge lined up the images well, and a checkbox let me remove "ghosting"—in the case of my shot, traffic that differed from shot to shot. The end result is pleasing, and you can tinker with it even further by adjusting Glow, Edge, Detail, and Tone, or by choosing a preset look.
It's fun to see the dazzling artistic effects all these choices enable. The idea is to fix issues introduced by the lens the photo was shot with, such as warped perspectives and darkness around the edges known as vignetting. The technique, as with most photo adjustments, works best with raw camera files. The problem with lens-based correction is that a program has to have a lot of lenses in its database to be useful for most photographers: CyberLink claims more than lenses for PhotoDirector, Adobe has about , and DxO claims more than 17, camera-body-plus-lens combinations.
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You can manually adjust the distortion, and CyberLink users can create their own profiles and make them downloadable from DirectorZone. PhotoDirector still didn't have my Sigma mm zoom lens in its database, even though that lens has been out for more than a year. The webpage states that "this lens profile will soon be available on DirectorZone.
A profile for the Canon EF-M mm is now available. Tapping a globe icon in the Lens Correction option group takes you to CyberLink's profile download page, where you can see all profiled lenses. DxO makes the process more efficient by asking you to download the appropriate profiles whenever you load a photo.
For supported lenses, the program automatically chooses the correct model, and those I tested did improve barrel distortion and vignetting. I am disappointed to see that chromatic aberration CA wasn't improved when applying profiles. PhotoDirector offers sliders for CA correction that did let me remove some color fringing, and the program's Defringe tool, though manual, does a great job of removing color strokes from object edges.
For excellent automatic results, try DxO PhotoLab. Lightroom and DxO PhotoLab are still way ahead of PhotoDirector when it comes to lens profile corrections, for both geometric distortion and CA chromatic aberration. To get started with face tagging, select some photos in Library mode, and hit the Tag Faces button above the thumbnail grid. This starts an Analyzing dialog, which goes through each photo one at a time.
Processing photos took just under 3 minutes. As with all face-recognition software, there were a few false positives—bushes were identified as faces, for example. But I am impressed that it picked up profiles as well as full faces.
The interface for assigning names to faces is, as with much of PhotoDirecter, clear and simple. Once you assign one name, it becomes a button for one-click assignment to other photos with faces. After this, you can just click Faces on the Library's left panel Project tab, and then click on a name to display photos only of that individual.
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You can also choose "Find more Faces of this person in the selected photos," but the program doesn't do as good a job of suggesting names that belong to a face as competitors do. PhotoDirector offers clear buttons for sharing directly to Flickr, Email, and CyberLink's cloud galleries from a dropdown. Lightroom goes beyond this, though, with some actual video editing capabilities. PhotoDirector's dedicated Print mode offers every imaginable paper size, custom grid settings, and watermarking, but it has no presets for standard sizes.
The company has added a soft proofing feature, which will please pros who print their pictures. There's also a Watermarks feature—something Corel only added to AfterShot Pro in its most recent update. One final note about help: PhotoDirector includes a comprehensive, organized, searchable help system, along with video tutorials, both accessible from clear buttons in the interface.
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Unfortunately, the help is now on the web rather than a local file. Adobe's software also takes you to the web for help, but you usually have to hunt through info on other programs than the one you're using and even through user comments before you possibly find what you're looking for. CyberLink wins on this count, and you can download its User Guide, in case you're editing on the road with no connectivity. Wildlife photographers can relate to that situation. It's pretty powerful, with a lot of fun effects and editing tools. You can have a lot of fun at a reasonable price with CyberLink PhotoDirector.
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